208 Innovation of Suminten Edan Stories by Ketoprak Wahyu Manggolo Pati Sucipto Hadi Purnomo1, Tri Marhaeni Pudji Astuti1, Agus Maladi Irianto2 1Universitas Negeri Semarang, Indonesia 2Faculty of Humanities, Universitas Diponegoro, Indonesia Received: December 21, 2017. Revised: October 5, 2018. Accepted: December 24, 2018 Abstract This research aims at discovering the innovation performed by artists of people’s theatre to the stories which have been a tradition and commonly known to the audience. This research uses a qualitative-descriptive approach, focusing on the performance of Sumonten Edan (SE) story by a ketoprak group Wahyu Manggolo Pati. In performing the story, despite being bound by the basic norms of performance known as pakem, Suminten Edan story is performed with some modifica- tions to show innovations. These innovations include both the story and performance aspects. Keywords: Ketoprak; Javanese Traditional Theatre; Innovation; Suminten Edan; Wahyu Manggolo How to Cite: Purnomo, S. H., Astuti, T. M. P., & Irianto, A. M. (2018). Innovation of Suminten Edan Stories by Ketoprak Wahyu Manggolo Pati. Harmonia: Journal of Arts Research And Education, 18(2), 208-217. Harmonia: Journal of Arts Research and Education 18 (2) (2018), 208-217 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v18i2.12435 ketoprak. During the beginning of this 21st century, this Javanese-speaking perfor- ming art kept on flourishing in Pati Re- gency, Central Java. In Pati, no less than 35 ketoprak groups exist. Some of these groups performed more than a hundred times a year in various places and in many occasions. These groups generally perform from daytime to night in every performan- ce order. One of these frequently performing ketoprak Pati groups is Wahyu Manggolo group. This group led by Sarjimin, whose stage name is Mogol, has its secretariate in Tanjungsari Village, Jakenan District, Pati Regency. In addition to leading this group, Mogol is also a comedian (dhagelan) in this Wahyu Manggolo group. His wife, Indra Mandarin, in each performance she plays INTRODUCTION The ketoprak performing art which constitutes one type of Javanese traditio- nal theatres has grown and developed in many areas in Java Island. Born in Surakar- ta in 1914 as per record (Brandon 2003:71), ketoprak has developed in Yogyakarta regi- on in both audios recorded ketoprak, radio ketoprak, television ketoprak, and staging ketoprak. Ketoprak Mataram is what the keto- prak living in this region called. Among Ke- toprak Mataram, Sapta Mandala is the most popular ketoprak group. In addition, approaching the end of 20th century, in East Java region a ketoprak performing art had also developed as cha- racterized by the existence of a new-style ketoprak Siswo Budoyo in Tulungagung, and in Kediri there existed Wahyu Budoyo Corresponding author: Jl. Sekaran Gunungpati, Semarang, 50229, Indonesia E-mail: suciptohp23@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Sucipto Hadi Purnomo et al., Innovation of Suminten Edan Stories ... 209 the role of a emban or nursemaid. In a year, on average this ketoprak group performs more than 150 times and in each perfor- mance they present two different plays, i.e. one play for daytime performance and the other for the night show. As with other ketoprak groups, Wa- hyu Manggolo performs folklores as sour- ces of plays or stories. These plays can be from fairy tales, legends, myths, phables, chronicles, and histories or a mix of these sources. The latter is usually the history from kingdom eras, particularly those in Java, prior to the independence. The stories performed in a ketoprak show are usually those who have been common knowledge for the audience. The- se stories are known from prior ketoprak performances, watched directly in person, from playing DVDs, television, or listened to via radio or recordings in cassette/MP3 format. Now that youtube.com exists, they can also enjoy ketoprak and plays perfor- med via this channel. Suminten Edan is one of the plays most frequently performed by Wahyu Manggolo group and other ketoprak groups in Pati. This play is a popular one among the people in general. The story is actually folklore from Ponorogo, East Java. Through ketoprak, Suminten Edan has been widely known to Javanese people, even in the North Coast of Central Java, in such a way that it became a collective memory and from then on a story convention was formed. In 1983, a recording company Fajar Record published the play recording of Suminten Edan in cassette tape format. The play was performed by Sapta Mandala ke- toprak group led by Bagong Kussudiarjo from Yogyakarta. Thereafter, the recording was sold for public and played by various radio stations. Now, the recording can be found in MP3 format and can be accessed in youtube.com channel. The recording, in ketoprak artists and fans’ opinion, is considered as the pakem of Suminten Edan play since it is referred to by many presentations of this story in other performances. When performed on 12 February 1992 at Bentara Budaya Ja- karta by Sapta Mandala entitled Suminten (Ora) Sida Edan (Suminten (Doesn’t Go Crazy) (Kristanto 1997, p. 131) which was presented in a parodical style, it was none other than a systematic parody of the play. This play is known as a rame (noisy) play since even the word included in its tit- le suggests the existence of a crazy woman as its central character, i.e. Suminten. At the organizer’s request, Wahyu Manggolo also performed the humorous version of Suminten Edan play when the group performed in Pulo Village, Rem- bang District, Rembang Regency on 25 December 2015. This request to perform it in its humorous version indicated that the organizer wanted the ketoprak group to present something new or different from when the play in its usual basic norms. Speaking about something new or innovation is incomplete without touching a convention. Sujiman (1983), p. 43) men- tions that a convention is a presentation which becomes a settled means of expres- sion, which eventually becomes the com- monly acceptable technique. In line with this, Abram (1981-33) suggests that a con- vention is the prominent characteristics or repeated techniques in a literary work, such as types of characterization, plots, forms of poems, dictions, and stylistics. In performing arts tradition in Java, this convention collides with the so-called pakem. Pakem, in shadow puppeteering, is defined as the “original” story considered as the babon or parent from which all plays and stories are performed. Pakem is where a player is stored (repertoire) which also serves a kind of dam or reservoir where the plays flow (Murtiyoso 1998). Pakem also means standards or principals, guide- lines or directives; pakem balungan means a storyline in the form of story outline (Jazu- li, 2003). However, convention, as suggested by Dewojati (2010, p. 1-2), is not limited to literary dimension, rather it also includes performing art dimension. Thus, pakem is not limited to literary dimension, rather it also includes performing art dimension. Harmonia: Journal of Arts Research and Education 18 (2) (2018): 208-217210 data appearing in written records in the field. This process takes place continuous- ly during the research, even before the data are actually collected. Data reduction includes: (1) summarizing data; (2) coding, (3) tracking theme, and (4) making clus- ters. Data reduction is done as a part of an analysis to expand, classify, direct, exclude the unnecessary, and organize the data to draw the final conclusion. RESULTS AND DISCUSSION Synopsis and Scenes Two stories have their synopses shown, namely Suminten Edanpengadegan (SE-1) played by the ketoprak group Sapta Mandala, Yogyakarta and Suminten Edan (SE-2) played by Wahyu Manggolo group. SE-1 represents a text to which many sub- sequent ketoprak performances refer to, and SE-2 which is the main focus of this study as well as the latest text which refers to SE-1. The Suminten Edan play by Sapta Mandala group (SE-1) which lasts for an hour (60 minutes) can be synopsized as follows. As the marriage between Suminten and Raden Subrata is being prepared, Pa- tih Trenggalek visits Warok Gunaseca’s house. His aim is to inform that Subrata has gone from Kadipaten Trenggalek, thus Subrata’s father, Adipati Sudibya Ngalim, cancels the marriage plan. As this news is told to Suminten, she collapses and when she is awake, she goes insane. Subrata on his way out of Kadipa- ten Trenggalek meets Cempluk Warsiyah. This daughter of Warok Suramenggala is chased and forced to be Gentha’s wife, the beast. However, Subrata fails to outpower Gentha. Fortunately, Warok Suramengga- la successfully thwarts Gentha’s intention. Gentha tells this to his father, Surabangsat. Yet, Surabangsat is also defeated by Sura- menggala. From Surabangsat, Secadarma fi- nally knows that the marriage between Suminten and Subrata is canceled since Subrata will marry Cempluk. Thus, he This innovation, both in terms of sto- ry and performance dimensions, is what this research will investigate. Therefore, innovation is not limited to literary dimen- sion, rather it also includes performing art dimension. It is important to study innovation in Suminten Edan by Wahyu Manggolo, not just because this play is highly more po- pular than others, but also because Wahyu Manggolo is the most-watched ketoprak group that its artists make playing ketoprak as their main source of income. Therefore, this research derives from one main problem: how are the innova- tions in Suminten Edan play performed by Wahyu Manggolo ketoprak group from Pati? METHOD This research is conducted using a qualitative-descriptive approach. Using this approach, the innovation in a ketoprak play is explained in a description. The research object is the innovation made through the performance of Sumin- ten Edan play by the ketoprak group Wahyu Manggolo. The data are collected mainly using documentation and note-taking techni- ques. The documentation technique is done to obtain a recording of a performan- ce of the said play. Note-taking is used to obtain more detailed data related to dia- logs and acting of the ketoprak artists. To complement the collected data, participatory observation and interview are used. The participatory observation is employed to obtain an authentic descrip- tion of the performance activity and the interview is done to the director and actors to obtain confirmation of the play presen- tation in the performance. Three qualitative data analysis paths are used in this research, namely data reduction, data presentation, and conclu- sion drawing (Miles and Huberman 1992). Data reduction is the process of selec- ting, focusing attention to simplification, abstracting and transforming the rough Sucipto Hadi Purnomo et al., Innovation of Suminten Edan Stories ... 211 kidnaps Cempluk from Trenggalek. Yet, his attempt is thwarted by Suramengga- la. Eventually, Suminten can be healed by Suramenggala. On Suramenggala’s recom- mendation, Suminten’s issue is to be sett- led before the Adipati in Trenggalek. Meanwhile, the synopsis of Suminten Edan play performed by the ketoprak group Wahyu Manggolo is as follows. Hooligan causes a riot in Kadipaten Trenggalek region. For eradicating these rioters in Gunung Pegat, Warok Gunase- ca is gifted by Adipati Trenggalek Sudibya Ngalim. The gift takes the form of a marri- age between the son of this Adipati, Raden Subrata, and the daughter of Gunaseca named Suminten. Yet, Subrata refuses this wish of his father’s. Accidentally, on his way, Subrata meets and helps Cempluk Warsiyah, the daughter of Warok Suramenggala, from Jin Gentho’s pursuit. They fall in love with each other. While Subrata fails in thwar- ting Gentho, Warok Suramenggala suc- cessfully drives away Gentho. Failing to accept his defeat to Sura- menggala, Gentho asks for help from his uncle, Warok Surabangsat. Surabangsat dresses up Gentho in such a way that he resembles Subrata. Having a look like Subrata, Gentho is about to indulge in love with Cempluk. However, it is found out by Subrata. Once again, it is Warok Suramenggala who suc- ceeds in discovering Gentho’s disguise. Gunaseca who is preparing Suminten’s marriage party receives news that the marriage is canceled since Sub- rata will marry Cempluk instead. Sumin- ten goes crazy as she is informed about it. Gunaseca is enraged with Cempluk who he thinks is the cause of Suminten failing to marry Subrata. He meets Sura- menggala and invites him to a duel. Sura- menggala defeats Gunaseca and kills this father of Suminten’s. Furthermore, Sumin- ten can be healed by Suramenggala. On Suramenggala’s recommendation, Subrata marries not just Cempluk, but also Sumin- ten. Based on these two synopses, it can be seen that there is no significant differen- ce regarding the theme and message of the story. Both present romances or specifical- ly a marriage plan which is thwarted due to the presence of a third person Neverthe- less, SE-2 has extended it with love meeting between Subrata and Cempluk Warsiyah as well as a challenge from Gentha which strengthens their relationship instead. Me- anwhile, the message which can be taken from both stories is that love will always require ones to fight for it regardless the obstacles in the way of it. However, to view the plot in detail, it is important to see each scene of the per- formance. In their presentation, both SE-1 and SE-2 performance are divided into se- veral scenes (jejeran). SE-1 consists of five scenes, namely: 1. Gunaseca’s family are preparing the marriage ceremony between Suminten and Subrata. Patih Trenggalek comes to inform that the marriage plan is canceled since Raden Subrata leaves the kadipaten and has not come home. Upon hearing the news, Suminten col- lapses and as she awakes, she has gone crazy. 2. Raden Subrata accompanied by his ser- vants meets Cempluk Warsiyah who is being chased by Gentha. Subrata tries to help, yet he fails to match Gentha’s strength, thus both Raden Subrata and Cempluk Warsiyah run away. 3. Subrata and Cempluk tell the incident to her father, Warok Suramengga- la. Suramenggala successfully drives away Gentha. Gentha goes and comes again with his father, Surabangsat. A duel takes place between Surameng- gala and Surabangsat. Surabangsat dies. Subrata then proposes and asks to bring Cempluk along with him to Kadipaten Trenggalek. 4. In Kadipaten Trenggalek complex a commotion suddenly occurs for Cempluk has gone as reported by the servants to the Adipati and Subrata. When Suramenggala is summoned and comes, he finds a clue that Cemp- luk disappearance is Gunaseca’s doing. Harmonia: Journal of Arts Research and Education 18 (2) (2018): 208-217212 5. On their way, Secadarma intends to kill Cempluk since he thinks she is the cause of why Suminten-Subrata marri- age plan fails. Yet, before he does what he intends, Suramenggala comes. Seca- darma and Suramanggala are engaged in a duel. However, before the winner and the loser emerge, the currently in- sance Suminten comes. Suramenggala successfully heals Suminten, thus she is no longer insane. They agree to settle Suminten’s issue in Kadipaten Treng- galek. Unlike SE-1 which is presented in five scenes, SE-2 which lasts for five hours and a half is performed in eleven scenes as detailed below. 1. A war erupts between the troops of Kadipaten Trenggalek led by Patih Reksapraja and the hoodlums led by Singagubrah. Singagubrah is assisted by Surategel, Suramentala, Samparge- ni, and Samparangin. The Trenggalek troops lose and run away, leaving the battlefield. 2. Patih Reksapraja meets Warok Guna- seca and says that there is a contest that anyone who can deal with the unrest, if he has a daughter then he will mar- ry the son of Sudibyangalim, Adipati Trenggalek. Additionally, the contest winner will be rewarded with some wealth. Gunaseca agrees to attend the contest. 3. Gunaseca comes to the hoodlums’ hi- deout. It turns out the hoodlums’ ac- tion making some unrest was ordered by Gunaseca. At this time, Gunaseca comes only to ask Singagubrah and friends to cease what they are doing. Gunaseca even asks Singagubrah to accompany him to appear before Adi- pati Sudibyangalim in Trenggalek. 4. In Kadipaten Trenggalek, before the Consort and her retainers, Adipati Sudibyangalim gives a reward to Gu- naseca. Gunaseca’s daughter will be married to the Adipati’s son, Raden Subrata. Gunaseca excuses himself to come home and prepare the marriage party. The Adipati summons Subrata and tells him that he will be married to Suminten. Subrata rejects it and even leaves Trenggalek palace. 5. Together with maids and friends, Cempuk Warsiyah is having fun. Suddenly, Jin Gentha comes. Gentha comes to propose Cempluk. Cempluk rejects him, yet Gentha keeps pushing. Cempluk and the maids run away. 6. On their way, Cempluk meets Raden Subrata. Subrata helps, yet he loses when fighting Gentha. Cempluk and Subrata run away. 7. Warok Suramenggala and Nyai Sura- menggala who are farming in their ri- cefield receive a report from Cempluk that someone is bothering her. They nearly mistaken Subrata for the one bothering their daughter as he comes after the report. It turns out that the re- ported man is Gentha. Thanks to Sura- menggala, Gentha can be driven away. 8. Gentha comes to Surabangsat and asks for help. Surabangsat then changes Gentha’s look to resemble Subrata so that he can make love to Cempluk. 9. Upon coming to Cempluk, Subrata in- vites the girl to make love to him. Ho- wever, as they are about to make love another Subrata comes. It turns out there are two Subratas near Cempluk. Cempluk is of course confused. Fortu- nately, Suramenggala comes and with his power he can tell which one is real and which one is fake. 10. Servants are having fun in the midst of Suminten-Subrata marriage plan in Gunaseca’s house. Surategel comes to tell that the marriage is canceled sin- ce Subrata will marry Cempluk. Upon hearing the news, Suminten collapses. Gunaseca is enraged and orders Sura- tegel to leave to kill Cempluk. As she awakes, Suminten has gone crazy. 11. Warok Suramenggala meets Gunaseca and they duel. Gunaseca dies. Sumin- ten, who comes later, is also healed by Suramengala. And on Suramenggala’s recommendation, Suminten will also be married to Subrata. Sucipto Hadi Purnomo et al., Innovation of Suminten Edan Stories ... 213 Pakem versus Carangan (novelty) Based on the performance duration and scenes, it is obvious that SE-1 is pre- sented in a compact pakeliran (show) pat- tern. On the other hand, SE-2 is performed in a complete pakeliran pattern. Neverthe- less, it cannot be necessarily determined that SE-2 has more and complete story units. In terms of its pakem, it can be noted that both hold their own pakem. SE-1 is wit- hin the frame of ketoprak Mataram pakem and particularly recording ketoprak during 1980s era. On the contrary, SE-2 is in the frame of ketoprak Pati pakem or coastal ke- toprak. Purnomo (2017) suggests that the convention of hired ketoprak in Pati regi- on and around or commonly called ke- toprak Pati pakem is characterized by: (1) the performance is generally lasting for four hours in the afternoon (around 13.00 to 17.00) and six hours in the night (from 20.30 to 02.30); (2) the ketoprak groups per- form when they are hired (tanggapan) and they receive payment from the one hiring them; (3) the performance is presented on a temporary stage equipped with kelir; (4) the performance begins with talu, srim- pen (gambyong), and tanduk (mentioning of play, characters and the one starring as them); (5) no complete scenario or script is available, except dhapukan and balun- gan lakon lists for a new play which is told to actors orally); (6) the story is generally from myths, legends, chronicles, and histo- ries with their background being Javanese kingdoms in the past); (7) the story plot is generally a progressive (Indonesian: tarik lurus) plot ; (8) it uses Javanese language with its registers and Pati dialects; (9) the dialogs and ngudarasa are improvisations using utterances or songs; (10) the acting and blocking are intuitive; (11) costimes and makeups are realists; (12) the accom- panying music is Javanese gamelan Jawa of pelog tones with an addition of drums and campursari dangdut musical instruments, (13) it always has war, romance, nurse- maids (garden), and dagelan (comedy); (14) keprak sound becomes a sign when the performance stage opens and closes, com- mands/ signal for gamelan or actors, and actor’s utterance assertives. These 14 characteristics, both those of intra and extra performances, are all in- herent to SE-2. Thus, it can be concluded that, in general, SE-2 is presented in a per- formance pattern which complies with the pakem. Nevertheless, this temporary conclu- sion is insufficient to ensure that there is no innovation in SE-2. In reference to Sud- jiman (1990) who argues that innovation is the modification made by litterateurs, both in terms of the story or the way it is told and Nugroho (2003, p. 186) who studies Anglingdarma play and suggests that the elements of a story which show novelty (carangan) in a play includes the appearan- ce of new characters, new place names, and interpretation of an event in a new way, it can be found that SE-2 has the potentials. In SE-2, the novelty occurs through the appearance of new characters. The fake Subrata which is unknown in SE-1, ap- pears in SE-2. This fake Subrata occurs not just once, but twice and his presence is an additional problem in the story plot. The appearance of fake Subrata is the result attempted by the character Jin Gent- ha, assisted by Surabangsat, to win Cemp- luk Warsiyah’s heart. The effort is almost successfully if only the real Subrata does not discover it and is settled by Warok Suramenggala. The appearance of fake Subrata does not only make the performance durati- on longer, but it also adds its rame (noise) and lucune (funniness) weight. This is be- cause of the appearance of fake Subrata that gandrungan (romance) between the character and Cempluk Warsiyah occurs, thus the romantic scene increases. The con- fusion of character Cempluk Warsiyah to tell which one is real and fake is the tensi- on is what increases both the rame (noise) quantity and quality. Meanwhile, the fact that Rohim, who in other performances is always playing the role of a comedian, is selected to be the fake Subrata is to allow the character to present the funny effect. Harmonia: Journal of Arts Research and Education 18 (2) (2018): 208-217214 This choice to present the play in its dhagelan or humorous version is as per the hirer’s request who wish to make the per- formance seem fresher, more entertaining, and trigger more laughter from the audi- ence. In other performances, in general the comedians appear particularly in dhagelan or repat panakawan scene or what in sha- dow puppet performance is usually called as gara-gara scene. This dhagelan or repat is also common to appear in the following scenes to follow the male main character (rol lanang/bambangan), as is the case with emban (nursemaid) who only appears in emban scene, unless she assumes the func- tion of the retainer of the female main cha- racter (rol wedok). Suminten Edan story develops among Javanese people. Such is what also pre- sented in SE-1, placing Suminten as the main character. This is because the prob- lem that Suminten experiences are the story’s main problem and the Suminten character is the one with constant influen- ce in every part of the story. The marriage preparation in the first scene is made to welcome Suminten’s mar- riage. The meeting between Subrata and Cempluk Warsiyah in the second scene is a condition which adds more problem for Suminten character, in this case as Subrata falls in love with this daughter of Warok Suramenggala. The problems Suminten is facing become more complicated when in the third scene, Subrata actually pro- poses Cempluk and intends to bring her along with him to Kadipaten Trenggalek. The same also applies in the fourth scene which narrates that the disappearance of Cepluk cannot be separated from the je- alousy and relation motif of Suminten’s parent to Cempluk since she is considered the main cause of the failure of Suminten’s marriage to Subrata. Finally, the fifth scene executes the way to the settlement which is previously taken through a pulsating duel between Warok Suramenggala and Gu- naseca. The problems are solved by Sura- menggala when he heals Suminten from insanity, and even on his recommendation Subrata is also willing to marry Suminten. Unlike SE-1, in SE-2 Subrata and Cempluk Warsiyah’s roles are more domi- nant and influence most scenes presented. In terms of appearance, Suminten in SE-2 appears only in two scenes, i.e. the tenth and eleventh or last scenes. On the contra- ry, Subrata appears in five scenes, i.e. the fourth, sixth, seventh, ninth, and eleventh scenes. The same frequence of appearance is also owned by the character Cempluk Warsiyah, i.e. in the fifth, sixth, seventh, ninth, and eleventh scenes. The appearance of both characters Subrata and Cempluk Warsiyah each in five scenes of the total eleven scenes is still added with talks about these characters in several other scenes wherein they do not appear. In the eighth scene which shows the character Jin Gentha and Surabang- sat, both talk about Subrata, and even the character fake Subrata appears. The name Cempluk even becomes the main object of their conversation. They are also talked about in the tenth scene. In reference to the ketoprak perfor- mance tradition which always shows bambangan or rol lanang and rol wedok in each performance, then both positions have been occupied by Subrata and Cem- puk casts. Bambangan and rol wedok are the parts each ketoprak group relies on to be a means to attract an audience. However, going beyond this habit, these two charac- ters are not played by the actors who used to play the role of bambangan and rol wedok. Mogol who plays as Subrata, is known not as bambangan, rather he is well-known as dhagelan (comedian). Indra Mandarin or Blewok is not rol wedok either, rather she is known as the main emban (nursemaid) of Wahyu Manggolo. In addition to the shift of character position, compared to SE-1, in SE-2 some characters are added. The hoodlums who make the unrest in Trenggalek region, na- mely Singagubrah. Singagubrah, Surate- gel, Suramentala, Sampargeni, and Sam- parangin, have never been known in SE-1. This is in line with the absence of a scene which tells the war between the hoodlums and the troops of Kadipaten Trenggalek as Sucipto Hadi Purnomo et al., Innovation of Suminten Edan Stories ... 215 what appears in SE-2 (jejer I). The appearance of these characters is considered important in SE-2, since wit- hout them being around the story, no war will erupt. It is them who mainly wage the war. Especially, it is because war is a highly-rated element in each performance. Without war, the performance will be less rame (noisy). This is different from SE-I, di where no war between the two troops or groups is performed. The addition of fake Subrata charac- ter is also functional to build a show which meets the “rame tur akeh lucune” (noisy and full of funninesses) demand. It is rame, be- cause due to the appearance of fake Subra- ta, the rivalry between (real) Subrata and Jin Gentha becomes more exciting. It is lucu (funny) since, the two Subratas, both the real and fake ones, are played by come- dians. Since the casts of Subrata are come- dians, the conflict between them does not become a tense scene, rather it becomes jokes. The same also occurs when the fake Subrata meets Cempluk Warsiyah. The reality outside the stage that the cast for Cempluk is the wife of the cast of real Subrata who also leads Wahyu Manggolo group, makes Rokhim as the cast of fake Subrata states he is not brave enough to hug Cepluk. He says he is afraid of being fired for that reason by Mogol who plays like the real Subrata. In addition, Gentha character who in SE-1 is depicted as a harsh and scarry character, while in SE-2 he appears with caricatural and humorous characteristics. This, once again, cannot be separated from the fact that the artists playing this charac- ter, i.e. Sendor, usually plays as a comedi- an in this group. Gentha’s attempt to make Cempluk Warsiyah accept his love does not even be- come a scene full of tension, rather it cre- ates an atmosphere full of laughter. The gandrungan performed by Gentha to Cemp- luk is relatively uncommon. Gentha does not use Javanese song lyrics from macapat songs, rather he takes the lyric from dang- dut songs. It casts with rude characteristics usually do such a gandrungan using lyrics which begins with some lyrics like “ayu- ne tumpuk undhung (the beauty is squared many times)…” which is immediately fol- lowed by rapid gamelan sound with ken- dang as the beat, in this scene Gentha be- gins with “Aduh, Nyaiiii….” This lyric in Indonesian language is the beginning part of dangdut song “Cinta Sabun Mandi” by Jaja Miharja which was also popularized by the senior singer. Dangdut is a popular type of songs for the audience. So is “Cin- ta Sabun Mandi” song, which can be said that almost all audience remember the ly- ric thanks to this song’s popularity. Making dangdut song a substitute for gandrungan song is an innovation shown by Wahyu Manggolo group through SE-2. Dangdut song as a gandrungan song is not just absent in SE-1, it is also unusual in the performance of other stories in other keto- prak shows. Usually, when the antagonist charac- ter doing this gandrungan to a protagonist character, while the gandrungan object re- fuses to respond, both her and her servants will feel intimated. Yet, what is presented in the 5th scene is just the opposite. Rat- her than frightening, Cempuk Warsiyah to whom the gandrungan is addressed by Jin Gentha is grinning sometimes. Two nurse- maids even invite Gentha for a selfie. Even Gentha also develops the hu- mor. Prior to singing “Cinta Sabun Mandi” song, he just sings, “Hai Yu Cempluk…. Mari ke sini.” These tone and rhythm are a fragment of “Hai Tukang Ojek” song in an electronic cinema “Ojek Pengkolan” aired by the national television station RCTI. Rather than continuing to complete this “Hai Tukang Ojek” song, after some laughters, Gentha follows it with the intro to “Cinta Sabun Mandi” song previously mentioned. Thus, the gandrungan is done using dangdut song: “Aduh nyai…. Dengarkan- lah/cintaku tulus nan suci sama nyai.” As Cempluk tries to remind Gentha when she says, “Eling ya, Dhi, aja dibacutke (Please, Dik (lil’ bro), refrain yourself from continuing it),” Gentha pays no heed and Harmonia: Journal of Arts Research and Education 18 (2) (2018): 208-217216 keeps on singing as if he were a dangdut singer singing the song while exclaiming, “Newsenegol uenak…!” “Kalau kaca bisa pecah/ kalau kayu bisa patah/ tapi cinta- ku pada nyai takkan pernah berubah…..,” as Gentha sing. Carried away by the dangdut rhythm, the nursemaids dance together with Gent- ha when the “Cinta Sabun Mandi” song is sung. At the same time, the accompanying music is no longer from Javanese gamelan, it is the solo organ instrument which is par- ticularly prepared to accompany the play as the performance goes, for both campur- sari and dangdut songs. Still in the 5th scene, as Cempluk Warsiyah runs and Gentha tries to cha- se her, Emban Pesek who is a friend and servant of Cempluk is engaged in a joke. Eventually, while chasing Cempluk, Gent- ha is also bringing Emban Pesek on his back. Nevertheless, in general, the appea- rance of these characters does not change the story plot presented in SE-1. In theatre performance, including ketoprak, the term plot means the arrangement of incidents occurring on the stage (Kernodle 1966, p. 345). The story flows in a progressive plot, beginning with the background for Sumin- ten-Subrata marriage plan. The only diffe- rence is that in SE-2 the scene in which the crazy Suminten appears is the penultimate or the 10th scene. Nevertheless, the story in SE-2 flows in the one same line which can be sum- marized in five parts. First, Suminten’s marriage plan is canceled since Subroto refuses to follow his father’s wish. Second, the canceled marriage plan results in Su- minten going insane. Third, Subrata falls in love with another woman, i.e. Cempluk Warsiyah. Fourth, Gentha appears to bot- her Cempluk. Fifth, Warok Suramenggala becomes the character who settles all prob- lems, be it faced by Suminten, Subrata, or Cempluk Warsiyah. While innovations do occur, in SE-2 a number of conventions are still kept. This way, the convention or in Javanese traditio- nal performing arts are commonly known as pakem, in Wahyu Manggolo’s Suminten Edan performance includes at least three aspects, i.e. the story pakem, pakem pakeli- ran, and accompaniment pakem. This inno- vation is relatively complete, for example, with the innovation invented by Nugroho (2003) in the ketoprak play Anglingdarma, i.e. only limited to the story aspect as indi- cated in Scheme 1. The story pakem refers to the story as a hypogram (SE-1), pakem pakeliran refers to the pakeliran of ketoprak gagrag pesisiran, and the accompaniment pakem refers to the Javanese gamelan ac- companiment which is divided into pathet 6, pathet 9, and pathet manyura. Figure 1. Scheme the ketoprak play Anglingda- rma By Nugroho, 2003). CONCLUSIONS While a play performance pattern is alway bound to the performance norms or commonly known as pakem, the Suminten Edan play is presented with some modifi- cations which indicate innovations. These innovations include the story and perfor- mance. In the story aspect, there is a shift of the main character, i.e. from Suminten to Cempluk Warsiyah who is coupled with Subrata. While still keeping the bambangan and rol wedok conventions, their characters and several other characters are played using a humorous approach. In addition to the shift in roles and characters, an ad- dition is made in the form of a character unknown in SE-1. 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